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Ad's Thoughts and Practices
A Tribute to Ad Reinhardt
Artscanada, October 1967 issue no. 113
Reinhardt, Mondrian, and Color
By Margit RowellAd Reinhardt’s tongue in cheek statement that he went “beyond Mondrian” is rarely taken at face value.
Robert Snowden
There is Skippy, Rice Krispies, and Ad Reinhardt. Skippy is the peanut butter that goes on smooth, Rice Krispies, the cereal that goes snap-crackle-pop, and Ad Reinhardt, the guy who paints black squares.
Ad Locum: Reinhardt’s Negative Politics of Place
By Sarah K. RichAd Reinhardt’s proposed leaflet for an art-strike in 1961 showcases the painter’s Rabelaisian affection for lists, as well as a vivid sample of the artist’s disaffection with the art world.
Ad Reinhardt and The Shape of Time
By Jarrett EarnestJust as artists were collapsing “art” and “life” Ad Reinhardt was mightily prying them back apart.
Ad Reinhardt in Print
By Elizabeth C. BakerA typical Reinhardt-Hess office conversation, easygoing at first, would accelerate to a flurry of pronouncements, rebuttals, and arguments centering on one or another recent art event.
Drafted: Ad Reinhardt’s Naval Drawings
By Nika ElderFrom 1944 to 1946, Ad Reinhardt was removed from the vibrant artistic and intellectual communities in which he had participated and immersed in the strategic preparations and bureaucratic procedures of active duty, even if he did not see battle himself.
Ad Reinhardt: Slides
By Prudence PeifferWhile Reinhardt is best known as a painter of reductive, dark abstract canvases, he had a life-long interest in photography.
Once upon a time, Ad Reinhardt Made Some Paintings That Just Might Be Pictures
By Terry R. MyersPerhaps the question that was on my mind while rereading Reinhardt’s early lecture was in the air when it was written: did Reinhardt really have the courage of his convictions in his work at that time?
Understanding Reinhardt’s Newsprint Collage
By Tessa Paneth-PollakAcross the 10 stanzas of Sidney Alexander’s poem “Intellectual to Worker,” the eponymous intellectual desperately attempts to “talk…straight” to the worker across the table from him, his “comrade.”
Ad Reinhardt and Pedagogy
By Howard SingermanFor many years, I have started my Art Since 1945 survey with Ad Reinhardt’s “How to Look at Modern Art in America,” first published in the summer of 1946 in PM.
Critical Humor in Ad Reinhardt’s Races of Mankind Cartoons
By Marianne KinkelDuring World War II, Ad Reinhardt’s cartoons for the Races of Mankind pamphlet engaged what Gunnar Myrdal later called the “American Dilemma.”
How to Look at Things Through a Wine-Glass
By Ad ReinhardtA modern painter's worst enemy is the picture-maker who somehow creates in people the illusion that one need not know anything about art or art-history to understand it.
Ad Reinhardt’s PM Work
By Jason E. HillAn acknowledged pioneer in American abstract painting, in the mid-1940s Ad Reinhardt was also a journalist.
Ad Reinhardt, Untitled, c. 1966
By Christine MehringThis gouache on photographic paper roughly matches the artist’s program for his black paintings.
Making a Print with Ad Reinhardt
By Rosa EsmanIn 1964 I started Tanglewood Press. My first portfolio was mostly Pop, not totally, but it was representative of what was going on in the American art scene in 1964 – 65.
Ad Reinhardt’s Prints
By Jennifer FieldAs a body of work, Reinhardt’s prints raise issues of authorship, authenticity, and politics in ways that appear neither in his painting nor in his satirical cartoons and written work.
Alexander Nagel
Alexander Nagel is Professor at the Institute of Fine Arts, NYU. His last book, Medieval Modern: Art out of Time, was published by Thames and Hudson in 2012.
Attention: Fragile
By Hubert DamischAd Reinhardt would willingly agree: it is easier to talk about his paintings in negatives than in positives.
Existententialist Negation
By Arthur DantoReinhardt’s paintings do not stand apart from the history of art by the fact of their nihilations but only by the sheer quantity of those.
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